An aerial thriller packed with gobsmacking visual splendors, “The Aeronauts” is also historically based…though not so much as to let facts muck up our enjoyment.

In 1862 two Londoners — one a sort of female daredevil and the other a stuffy scientific sort — risk their lives on a balloon ride into sky. Their goal is to set an altitude record for human survival…at that time about 20,000 feet.

They’ll go considerably higher than that.

Our protagonists are Amelia Wren (Felicity Jones), an experienced balloonist thanks to her late lamented husband, and James Glashier (Eddie Redmayne), who is something of a laughing stock in the science community for his theories on weather prediction.

For her the ascent is a chance to commune privately with the spirit of her dead love and revel in the wonders of our atmosphere; for him this initial ride into the sky will allow him to take measurements that will bring about understanding of the nature of this envelope of air in which our Earth resides.

There really was a James Glashier, although in 1862 he was an overweight middle-aged husband and father and already respected in scientific circles. Amelia Wren, however, is the fictional creation of director Tom Harper and co-writer Jack Thorne, an obvious attempt to create a heroic female protagonist who will resonate with women viewers. Not that I’m complaining.

The film begins with the pair’s sendoff before a wildly cheering crowd in a London park. Amelia arrives in paint and shortened petticoats to do cartwheels before the wicker gondola and pose prettily. Glashier is embarrassed by all the show-biz hoopla.

But before long they’re airborne for a ride that in just 90 minutes will test them to the limit.

A struggling Brit musician gets creamed in a roadway accident and wakes up to a world where no one has ever heard of the Beatles. He starts performing all those great songs (like the rest of us, he’s committed them to memory) and is hailed as a pop music genius. Only problem is the guilt he feels for getting rich and famous off the talents of John Lennon and Paul McCartney, who apparently never existed.

The big question here is whether “Yesterday” has anything to offer beyond its clever premise and its collection of gobsmackingly great Beatles tunes.

Kinda.

As written by Richard Curtis (“Love Actually,” “Pirate Radio”) and directed by Danny Boyle (possibly the most diversified filmmaker working today), “Yesterday” is an affable romantic comedy/fantasy with a nice star turn by Himash Patel (a British TV actor making his big-screen debut). Patel not only embodies an in-over-his-head innocent but has the pipes to deliver in the musical sequences.

We meet our hero, warehouse worker Jack Malik (Patel), on the verge of giving up his dream of ever becoming a successful musician. He has a manager — actually, it’s his childhood friend Ellie (Lily James) — but the only gigs coming his way are kiddie parties and open mic nights at various seedy pubs. He does get to play in a regional tent at a big rock festival, but most of his audience consists of a handful of friends who come to all his shows.

No sooner has he told Ellie that he’s packing it in than the lights go out all over the world for about 12 seconds. That’s enough time for the bicycle-riding Jack to collide with a bus.

In the accident’s aftermath, though, weird things happen. He drops references to the Beatles (one of the film’s cleverer aspects is that it shows how many phrases from the Fab Four’s lyrics have become common parlance…sort of like quotes from Shakespeare) and is bewildered when nobody seems to know what he’s talking about.

When he plays “Yesterday” for some pals they are blown away and want to know why he’s been hiding such a great tune.

A trip to Google confirms Jack’s worst fears. A search for “The Beatles” turns up only entomological websites. (One of the film’s running gags is that over time Jack discovers that other aspects of his old reality have vanished. For instance, there is no Coca-Cola, only Pepsi, and nobody has ever heard of cigarettes; one assumes that public health has improved immeasurably.)

The film’s strongest moments come early on as Jack discovers his situation and finds himself being propelled into worldwide notoriety. He tours with Ed Sheeran (playing himself quite effectively) and even “debuts” “Back in the U.S.S.R.” at a Moscow concert.